The painting personifies Ragini Telangi wife of Raga Hindola as a young lady seated on a chauki (low stool) having her body massaged with oil. One of the attendants holds a thali (platter) with oil in the bowl while the other rubs her arm. The painting seems to represent the advent of autumn season when the weather is dry. The undraped women is not painted in Kangra painting for its own sake however subjects like this provide an opportunity to the artists to paint the beauty of the female figure.

About Miniature Paintings

Miniatures are intricate, colorful illuminations or paintings, small in size, executed meticulously with delicate brushwork. The history of Indian Miniature Paintings can be traced to the 6-7th century AD. Miniature Paintings have evolved over centuries carrying the influence of other cultures. The miniature artists gave self-expression on paper, ivory panels, wooden tablets, leather, marble, cloth and walls. Indian artists employed multiple perspectives unlike their European counterparts in their paintings. The idea was to convey reality that existed beyond specific vantage point.

The Kangra Miniatures of the Pahari School made a mark in the 18th century. Though influenced by the Mughals, the Kangra School retained its distinctiveness. The paintings were naturalistic and employed cool, fresh colors. The colors were extracted from minerals, vegetables and possessed enamel-like luster. Verdant greenery of the landscape, brooks, springs were the recurrent images on the miniatures. Texts of the Gita Govinda, Bhiari's Satsai, and the Baramasa of Keshavdas provided endless themes to the painters. Krishna and Radha as eternal lovers were portrayed rejoicing the moments of love. The Kangra miniatures are also noted for portraying the famine charm with a natural grace. The paintings based on Ragmalas (musical modes) also found patronage in Kangra.